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| 4.140 Ft
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| 1. | Why Was I Born?
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| 2. | Smoke Gets in Your Eyes
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| 3. | Blues Up
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| 4. | Walking by the River
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| 5. | S'posin'
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| 6. | If I Had My Way
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| 7. | 'S Wonderful
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| 8. | My Shining Hour
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| 9. | 'Deed I Do
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| 10. | Like Someone in Love
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| 11. | Let's Get Away from It All
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| 12. | I'm Glad I Waited for You
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| 13. | For All We Know
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| 14. | Warm Valley
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| 15. | Limehouse Blues
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| 16. | Sleepy Waltz
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| 17. | Dream
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| 18. | Lullaby of the Leaves
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| 19. | Lullaby
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| 20. | Close Your Eyes
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| 21. | Brahms' Lullaby
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| 22. | Deep Night
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| 23. | Deep in a Dream
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| 24. | Lullaby in Blue
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| 25. | Japanese Sandman
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| 26. | Lullaby in Rhythm
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| 27. | Sleep
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Jazz
Recorded in New York City, October 31, 1955(#1-15), and 1963 (#15-27)
Dave McKenna made a remarkably piano solo debut in 1955 with the fifteen tunes he recorded for ABC Paramount (1-15). The remaining tracks on this compilation also come from a solo album, one he cut almost eight years later for the label Realm. Playing without a rhythm section, a key challenge for a jazz pianist, McKenna accomplished a recital of lasting value and pleasure. He plays with strength, individuality, fine beat and technique, and constant taste in all tempos. He is a wonderfully co-ordinated two-handed pianist.
* Burt Goldblatt - Cover Photo
* Creed Taylor - Liner Notes
* Jordi Pujol - Producer
In case you haven't heard, Dave McKenna is one of the most remarkable jazz pianists in the history of the music, further evidenced by this wonderful solo recording, taken from the original 1955 ABC-Paramount LP Solo Piano and the 1963 Realm release Lullabies in Jazz. McKenna's expertise in mixing the stride style into any jazz standard cannot be more fully demonstrated. The first 15 tracks are from the 1955 date, where his ability to swing and stretch out would be hard for anyone to match, much less exceed. There's only one original, the jazz-blues-bop jam "Blues Up." McKenna waxes serene on three selections, is atypically delicate during "My Shining Hour," and mixes patient to animated tempos for "Limehouse Blues." On the rest, he plays consistent rhythms, especially effective on the bouncy "S'posin'," the dramatic intro before digging in for "'S Wonderful," and the uppity "Let's Get Away from It All." McKenna's consistency in playing deft, accurate melodies and effortless stride is evident with every note and phrase. The remaining tracks are indeed lullabies and are lower key, ranging from the childlike "Brahms' Lullaby" to the darker "Deep Night," the somnambulant "Deep in a Dream," and the cute "Japanese Sandman." The anomalies are the bright, not at all weary original of McKenna's "Sleepy Waltz" and the jaunty back-and-forth finale, "Sleep." While Lullabies is thematic and stylized, it is far from reticent or boring. This is truly a beautiful document of a master at work, and is highly recommended, whether you are a staunch fan of McKenna or hopefully a new convert.
--- Michael G. Nastos, All Music Guide
Dave McKenna
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: May 30, 1930 in Woonsocket, RI
Genre: Jazz
Styles: Mainstream Jazz, Standards, Stride, Swing
One of the top swing-based pianists of the past 25 years, Dave McKenna's hard-driving bass lines give momentum to uptempo pieces and his vast knowledge of superior songs from the 1930s has resulted in many rewarding albums of traditional but fresh music. Although talented from the start, McKenna did not achieve that much recognition until he was already in his 40s. He joined the Musicians' Union when he was 15 and picked up early experience playing with Boots Mussulli (1947), Charlie Ventura (1949) and Woody Herman's Orchestra (1950-51). After two years in the military, McKenna had a second stint with Ventura (1953-54) and then worked with a variety of top swing and Dixieland players including Gene Krupa, Stan Getz, Zoot Sims, Al Cohn, Eddie Condon, Bobby Hackett and Bob Wilber (in the late '70s) and was a soloist at piano bars in Massachusetts. McKenna had recorded for ABC-Paramount (1956), Epic (1958), Bethlehem (a two-piano date shared with Hall Overton in 1960) and Realm (1963) but in 1973 McKenna's talents finally began to be more fully documented. He led sets for Halycon, Shiah, Famous Door, Inner City (with vocalist Teddi King) and four for Chiaroscuro. And then in 1979 with No Bass Hit (a trio date with Scott Hamilton and Jake Hanna), McKenna debuted with Concord, finding his home. He has made many sessions for Concord ever since, some as a sideman or with small groups but the best ones being unaccompanied recitals. In the mid-'90s Dave McKenna is at the top of his field.
---Scott Yanow, All Music Guide |
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